Girls Gone Geek

Ever have those moments when you’re getting your geek on as usual, and then something so ridiculous/inexplicable appears that you can only scratch your head and say, “What the fuck?” Yep; that’s what we thought. It happens to us all the time, so in the spirit of sharing, Girls Gone Geek is launching a new feature we like to call WTF Wednesday. Yeah, we know it’s Tuesday, but V. and I had such a giggle fit over our gallery of entries that we couldn’t contain ourselves until mid-week. For your enjoyment, we present the following:

Fierce!

You want cosplay? You can’t handle Batman’s cosplay, baby! Apparently feeling restricted by his mid-century black-and-gray ensemble, Bats went over the rainbow in Detective Comics #241 and got himself a Skittles-inspired wardrobe. So many moods, so little time. This cover, like many early Batman-related covers, is pure WTF genius: First, there’s Robin’s Captain Obvious routine. But what really takes it over the top is Batman’s grim determination — his commitment — to wear a different-colored costume every night. “Screw you and your primary-colored frippery, Superman! I’m bringing the hotness to the JLA, and we both know it.”

I have no idea what this issue is about, and it doesn’t matter. If loving *Hot Pink Batman is wrong, I don’t want to be right.

*I don’t care what Robin says. That ain’t red.

When I rolled my ass out of bed at 11 am, I was looking forward to the day.

I immediately sent a text: “E., darling. Happy Saturday. Pics later?”

To which she replied: “Perfecto. Lunch would be fab, too!”

And so, in the spirit of all that is great and geeky, E. and I ventured out into the world to read our comics in public. It was a lovely day with my dear friend.

Did you participate in International Read Comics in Public Day? What comic did you want the world to know about?

E. Peterman gets her Kal-El on.

Vanessa G. enjoys the indie goodness of Chew.

Art by Mike Kevan

Happy Friday my yummy geek nuggets!

Tomorrow, Saturday, August 28th, is International Read Comics in Public Day. I’m here to remind you to get your ass off the couch, dare to be a daywalker, and make sure you bring your comics along. Read them and be seen doing it by as many people as possible. If someone asks you what you’ve got there, say it loud and proud: A COMIC BOOK!

E. and I will be out and about doin’ the damn thing. Matter of fact, we’ll be taking pictures. I suggest you do the same. Post it to your Facebook, Twitter, Myspace (does anybody even use that anymore?, or …

DC Women Kicking Ass has a special treat for the ladies, she’s created the tumblr, Women Read Comics in Public. The expressed purpose is to feature fangirls enjoying their sequential art, and to let it be known that ladies love comics! There are a lot more of us than some would like to think, and we are PASSIONATE.

Spread the word!

Ben Caldwell's Wonder Woman: Gorgeous

I am completely enamored with Ben Caldwell’s pitch for a youth-skewing Wonder Woman comic, which is getting plenty of other props online. I’m generally not a fan of manga-style illustration, but Caldwell’s concept is fresh, playful and modern without being silly (*Cough* jeggings on Wonder Woman *Cough*).

A page from Caldwell's pitch

If the work looks familiar, it’s because Caldwell was behind the ethereal Wonder Woman arc in Wednesday Comics. He has posted his vision (with notes) on his blog, and what’s particularly nice is that he’s thinking about younger readers. I love his take on Etta Candy as a curvy, thrill-seeking sorority girl and his sulky/hot Batman is adorable. The idea of Bruce Wayne as “a notorious playboy who wants to see and be seen with the Amazon princess” is like catnip to those of us on team BatWondy. It seems like a well thought-out idea with more than a little personal passion behind it — and it just looks freaking cool.

Alas, Caldwell told readers to curb their enthusiasm (or ire) because this book “will certainly never happen.” I’ve been reading mainstream comics long enough to know that he’s probably right. That’s a damned shame, because the spontaneous response to Caldwell’s pitch tells me that there’s a pent-up demand for this kind of creativity and accessibility. While comic-book reading has become an adult hobby (at last year’s Dragon*Con, Darwyn Cooke correctly called it “an over-35 club”), kids still dig them if a) they can find them and b) they’re good. My children read comics, but only because I ferret out the titles that are age-appropriate and bring them home. I have a feeling that my 10-year-old son would like Caldwell’s Wonder Woman comic, even though it’s about a “girl.” But first, he’d have to wrest it from my hands.

What do you think? Would you buy this book for yourself or the kids in your life?

Last month, DC Women Kicking Ass posted an excellent piece about encouraging more female comic book readership. There were several good suggestions, but #4 leaped out at me: “Look to Archie.”

“Girls still read Archie because it’s accessible, and because their parents probably read Archie when they were growing up, too.”

If you're feelin' like a pimp, Archie, go and brush your shoulders off...

I know this is true, because Archie comics were my gateway to geekery back in the late 1970s. I treasured those books, and my 6-year-old daughter, C., is following suit. A few years ago, my mom started bugging me to get my childhood crap out of her house, so I began bringing pieces of my old Archie comics collection home. C. rummaged through those boxes of comics and got hooked on the Riverdale gang’s retro adventures. Now, whenever we duck into my LCS on the way to her gymnastics class, she emerges with at least one Betty & Veronica — and maybe a Tiny Titans for good measure.

I’m happy that she gets so much enjoyment (and reading practice) with these books. It’s also been, well, interesting to re-read classic Archie stories from my adult point of view. Here’s what I’ve noticed:

1. Despite the fact that it’s an old-fashioned comic, most Archie plotlines are all about raging hormones. Some of the bathing suits and plunging necklines Betty and Veronica wore in the ’70s were way sexy, and while wearing said getups, they were often being trailed by a pack of (literally) panting males. Clearly, a lot went over my head when I was 8. The next time you’re in the supermarket, flip through an Archie comic and tell me Reggie and Veronica haven’t totally gotten to third base.

2. Archie and Co. always seem to be ambling past someone’s house, which is plausible until they wind up in front of Veronica’s mansion. Veronica is supposed to be the richest girl in Riverdale, maybe the entire region. So how is it that the Lodge estate is right up the street from Jughead’s working-class neighborhood? There are some fine houses within a mile or two of my subdivision, but none of them qualify as a millionaire’s retreat. Another thing: Given how much Mr. Lodge loathes Archie, why is he sending his daughter to the same public high school he attends?

3. While the stories in the main Archie books are standard (prom, love triangle, pool party), my old Little Archie digests are full of life-or-death scenarios. The following took place in just one of my old issues — and I’ve made nothing up:

• Little Betty is abducted, bound and gagged, and left in an attic by some bank robbers hiding out near her summer camp. Little Veronica leads a search-and-rescue party.

• Little Archie is in a terrifying car accident with Betty’s older brother, Chick, behind the wheel.

• Little Archie helps foil two burglars who attempt to steal one Mr. Lodge’s priceless artifacts. (Shouldn’t this act alone have earned Archie years of goodwill?)

• Little Archie saves the life of a bongo-playing Martian who must drink ammonia (wink) to survive.

Now that I’m a joyless grown-up, these stories seem equal parts ridiculous and slightly unnerving. However, reading some of those comics also reminded me of why I loved Archie so much when I was growing up. After all, comic books are all about fantasy, and Riverdale’s simplicity is appealing to young children. There’s no oppressive continuity to reckon with. All you need to know is that Archie is everyteen, Betty and Veronica are frenemies, Jughead has a binge-eating problem, and Reggie is an asshole.

By the way, how awesome is this?

Because I love a Kate Spade purse as much as a Fables hardcover trade, I tend to have strong opinions about comic book fashion. V., a Gucci aficionado from way back, is no different, and we’ve had plenty of Project Runway elimination-style discussions about superhero garb.

Of course, everyone had something to say about Wonder Woman’s new costume, much of it hilarious. My favorite observation came from Tom and Lorenzo, the duo behind the brilliant Project Rungay blog: “She kind of looks like she’s on her way to yoga class. In Vanilla Ice’s old jacket. That sound you hear is the wail of drag queens the world over, all of whom wouldn’t be caught dead in this thing.”

Now that the dust has settled, we were inspired to survey the field of DC superheroines to determine who looks red-carpet ready, and who looks a hot mess. The men just didn’t interest us as much, because frankly, there’s not much to say about dudes who favor briefs and capes as a daytime look.

As for Vixen’s outfit, well, you know where we stand on that madness.

Liberty Belle: Ms. Chambers if you're nasty.

Liberty Belle: Call me old-fashioned, but I’ve always liked Jesse Chambers’ classic Liberty Belle getup. It’s a nice homage to her mom, and since she’s got that Veronica Lake thing going on, she manages to be sexy without giving away the store. Few people could get away with those thigh-enhancing jodphurs — or that color scheme for that matter — but L.B. does so with grace. What a classy dame. Grade: B+

Yawn.

Wonder Girl: Cassandra Sandsmark’s costume, if you can call it that, reflects the problem with her character. There’s no there there, and certainly nothing fitting a heroine. You could walk into any Forever 21 or Wet Seal in America and come up with the equivalent of what she’s wearing. Her boyfriend, Conner Kent, seems to share the notion that a pair of Gap jeans and a logo shirt are just dandy for saving the universe, but where’s the glamour? The intimidation factor? The effort? Girl, bye. Grade: D

Black Canary

Black Canary: Artist Ed Benis’ Matrix-referencing take on Dinah Lance makes our favorite Bird of Prey as stylish as she is deadly. The long, cinched black coat, Dinah’s trademark fishnets and the motorcycle boots are gangsta in a very good way. Siu Jerk Jai deserves nothing less. Grade: A

Artemis: New Earth

Artemis (New Earth): Brimming with Amazonian swagger, Artemis of Bana-Migdhall looks great no matter what she’s wearing. But I’m partial to the sultry I Dream of Jeannie togs Artemis wears in her New Earth incarnation. It’s exotic (wispy genie pants), fashion-forward (calf-high gladiator shoes) and a touch dangerous (leather push-up top). Extra points for the bicep-enhancing gold bangles and choker. Fierce! Grade: A

Showoff.

Starfire: When you’re hot, you’re hot, but that’s no excuse for dressing like a truck stop lingerie model. I know what the Starfire apologists are thinking: “Jealous, much?” Yes. Grade: D-

Wonder Woman in "Amazonia"

Victorian Wonder Woman: Wondy went Steampunk to solve the case of Jack the Ripper in Amazonia, an Elseworlds tale set in the Victorian era. Of course, she looked fantastic in this retro version of her iconic costume: Crimson corset with a fishtail flourish, elbow-length gloves with filigree bracelets and chic, lace-up boots. The hair is very Padme Amidala in The Phantom Menace, but Diana rocked it out with the tiara. Grade: A-

Manhunter

Manhunter: Unless it’s got some built-in Spanx, Mahunter’s costume leaves absolutely no room for error. This is an aerodynamic, body-hugging costume that means business. In addition to being sleek and functional, it’s got that cool plating at the neck and shoulders (with matching clawed gauntlets), and the power staff is just cool as hell. Grade: B

Nimue: Nimue’s fashion has evolved to suit the times and moniker of Madame Xanadu. Her woodland nymph garb, complete with antlers and proper baubles, is hippie ethereal in an “I’m actually Homo Magi” kind of way. The knee-high lace up hoof heels are just about the cleverest shit we’ve ever seen for those times when you don’t want to be found in the forest — aaand you might not want to be found if you’ve pissed off your lover, Merlin.

Batwoman

Batwoman: I love everything about this costume, which somehow manages to be more menacing than Batman’s. Maybe it’s the stark black-and-red color combo, or maybe it’s the kickass footwear JH Williams III bestowed upon Kate Kane in his Detective Comics run. These are not girly boots for prancing around, but wall-climbing, roof-jumping, thug-stomping kicks. Throw in some red gloves, and you’ve got a look that’s a little bit scary and a whole lot sexy. Grade: A+

Stay classy, Star Sapphire Corps!

Star Sapphire: Cher wept. Grade: F

Ultimate Comics Spider-Man #13
Writer: Brian Michael Bendis
Pencils: David Lafuente
Colors: Justin Ponsor
Letters: Cory Petit

In its 13 issues so far, Ultimate Comics Spider-Man has proven itself to be just as much of a crackling page-turner as its long-running predecessor, the nearly identically titled Ultimate Spider-Man. Writer Brian Michael Bendis’ style may not be for everyone, but I happen to love his take on beleaguered teen superhero Peter Parker. Even when he’s doing something stupid, Peter is endlessly endearing, and Bendis’ UCSM dialogue often reads like the script for a really good young adult TV show. Think “Freaks and Geeks” meets “Smallville.”

After establishing the nutty state of Peter’s personal life — friends Johnny Storm, Bobby Drake and current girlfriend Gwen Stacy are living with him and Aunt May — Bendis has upped the ante with identity theft: A shape-shifting villain has kidnapped Peter, assumed his visage and … well, let’s just say he’s doing conspicuously uncool things. All comic book villains are bad in their own way, but there’s something unnervingly sinister about this shadowy figure, and he’s not working alone.

One of the interesting things about this arc is the way the nameless bad guy (I call him Anonymous Tool) has pondered Peter’s choices — why a kid with such amazing powers lives in Queens and puts up with idiots like Flash Thompson. He considers Spider-Man a chump who’s wasting his advantages, but he quickly realizes that being him is harder than it looks. Swinging across the New York skyline with a homemade web-shooting device isn’t for the faint of heart, so Anonymous Tool has to give Peter some props, however begrudgingly.

To say that things end on a shocking note is an understatement. Secrets are uncovered (or at least figured out), and without giving too much away, you’ll see newspaper mogul J. Jonah Jameson — or at least an approximation of him — in an entirely new light. Ultimate Comics Spider-Man #13 is a terrific issue overall, and a great deal of credit goes to artist David Lafuente. His pencil work is crisp and energetic, and certain panels — a close-up of a long-faced Jameson comes to mind — really grab and hold the reader.

I’m eager to see if and how Bendis reintroduces Peter’s former flame Kitty Pryde, who remains a fugitive following a disastrous, anti-mutant showdown at school. And now that everyone knows Peter’s immediate ex-girlfriend, Mary Jane, is still in love with him, the unavoidable arguments and relationship renegotiations are sure to be intense. In the meantime, it’s hard to see how Peter is going to escape the truly awful jam he’s in, which has nothing to do with the women in his life. But judging from that last panel, something tells me he’s going to get by with a little help from his super friends.

Cover art by Rodolfo Migliari

Green Lantern: Emerald Warriors #1
Writer: Peter Tomasi
Pencils: Fernando Pasarin
Inks: Cam Smith
Colors: Randy Mayor
Letters: Steve Wands
August 11, 2010
DC Comics

As of right now, I am pulling all three Green Lantern books. I really enjoyed the fantastic nature of the Sinestro Corps War, and then it built up to Blackest Night. So, I kept on keeping on. While there was some phenomenal art during Blackest Night, the best stories did not come from the GL titles.

I’ve recently been contemplating dropping Green Lantern. Reis’ art is to die for, but Johns’ writing is not. Now that they’ve shown the teasers about the Indigo Tribe, I may wait another arc. I love the Indigo Tribe. Green Lantern Corps is still enjoyable. But, after the Cyborg Supes story is done, GLC is headed for the chopping block. My thinking in all this is that I would be content to just get Green Lantern: Emerald Warriors. Guy Gardner is a whole lotta lantern. Peter Tomasi has, on many an occasion, impressed the hell out of me with his writing.

After reading the first issue, I’m getting a strong cross-over vibe. That makes V. a grumpy girl. I wanted a contained experience, I don’t want to have to rely on the other titles. Sure, sure, the GL books have crossed over for like years. I’m not surprised or anything. I’m just rolling my eyes.

As for the issue itself, it is as decent as a #1 can be. We already knew that Guy, Ganthet, and Atrocitus have entered into an unholy pact for what I can only assume is the greater good. Tomasi dances all around that notion, but we still don’t know what they’re up to. Guy is recording a “while I’m still sane” video. I bet that’ll be dedicated to his bestie, Kyle, after he’s gone all ragetastic. Ganthet is digging around the depths of Oa looking for clues. And, Atrocitus professes his hate of all things Green Lantern. There are no big reveals, no particularly intriguing moments, but lots of Guy talking cash shit. He’s almost talking too much. I truly hope that Tomasi takes this opportunity to expand upon Guy’s character. The kitschy one-liners are fun, but he could be so much more than that.

Fernando Pasarin is a good fit for this book. His style meshes with the action-oriented, heavily detailed sequences that are fundamental to the space cop vibe. Some panels are better than others, but his splash pages are excellent. I bet he’ll only get better from month to month. There is one thing though that perplexed me: Atrocitus drawn with a hot, little, man tush in his tights. I understand that beefcake is a staple in the spandex books, but that made me feel all weird on the inside. So please Fernando, no more Atrocitus ass shots.

“Poozer Hunting” is the awesome title to the second issue. That gives me hope, in Kilowog kind of way. Emerald Warriors will get the standard three issue opportunity. If by the 22nd page of that third issue, I still have on my meh face; it is over between us.

To be fair, the problem might not be this book at all. Zatanna left me luke warm too. It is highly probable that everything was blasted into darkness by the EPICNESS of Birds of Prey #4. I fucked around and read that first. The other books never really had a chance.

Vampire Huntress #1
Writer: L.A. Banks with Jess Ruffner
Artist: Brett Booth
Colors: Stephen Downer
Letters: Bill Tortolini

I really want to love Vampire Huntress, the comic book based on L.A. Banks’ popular series about paranormal battle. For one thing, the main character is a black woman, gorgeous spoken word artist (yeah, I know) Damali Richards, who also happens to be a vampire slayer. As The Neteru, a person born every 1,000 years to take on demonic forces, Damali fights the good fight with a band of equally attractive, racially diverse heroes.

Take away the impossibly long torsos, perfect hair and supernatural happenings, and Vampire Huntress is that rare comic that reflects the multi-hued world I live in. That’s definitely something to cheer, and artist Brett Booth’s cover image — Damali strikes a don’t-cross-me-pose, complete with wings and a sword — piqued my curiosity.

The good: The women in this comic book are not to be trifled with. Washboard abs aside, several of them are pregnant (including Damali, who is carrying husband Carlos’ twins), but they refuse to be sidelined when trouble arises. After getting word that a resistance group has been slaughtered, Damali rejects Carlos’ advice to sit out the action, and she and her fellow mothers-to-be bristle at the notion that they need a medic on call: “Nobody in here is disabled,” Damali shoots back.

Booth’s interior art reminds me a little of ‘90s Jim Lee, and that’s certainly not a bad thing. Damali is gorgeously drawn with flowing Nubian locs and the kind of lean, fierce look you’d expect a vampire slayer to have. The female characters’ faces are too similar, but I like Booth’s bent for exaggeration — epic afros and clothes that appear to be painted onto the characters’ bodies. Those highly stylized touches work well here.

Damali comes across as a fully realized character who fights and loves fiercely. There’s a tender opening scene between her and Carlos, and I was struck by how infrequently I’ve seen that kind of romantic interaction between two nonwhite characters in comics.

The meh: Vampire Huntress is meant to be accessible to newbies who haven’t read any of Banks’ novels, but even with a the-story-so-far introduction, I found the entry a little bumpy. The story is likely to resonate much more with readers who have followed Banks’ work and want to see these characters in a different medium. Coming in cold, I just didn’t feel a strong attachment to the players.

The bad: Dialogue can make or break a comic, and nothing hampered my enjoyment of  Vampire Huntress more than the corny lines. Look, I’m not going to pretend I’ve never called my husband “boo,” but the script was working way too hard to remind me that these young vampire hunters have mad flavor, yo. All the fist-pounding and pronouncements of “Feel me?” and “True that” suggest the consultation of  “A Guide to Urban Youth-Speak: 2001 edition.”* (On the other hand, I would pay good money to see a panel of Batman telling Wonder Woman, “I got this, boo.”)

Final verdict: Since this is a first issue with some good bits, I’m willing to give  Vampire Huntress comic a little time to find its legs. As much as I hate spoken-word poetry, I think Damali is an interesting character who represents something comics could use more of. I’m also considering checking out one of L.A. Banks’ novels, since vampires (and their enemies) are all the rage these days.

*I totally made that up.

He’s saucy to the tenth power in a gritty-I’ll-kick-your-ass kind of way. Despite his tough exterior and hot temper, he’s got a heart of gold. He’s the guy you want as your best friend. I’d say Kyle Rayner is one lucky mofo.

Guy Gardner is what the kids call a good time. I imagine him with a ring in one hand and a drink in another. His brash personality and general trash talking makes me wanna toss back a few with him at some random space bar. It’d be a hell of a good time with plenty of belly laughs. I’d bet the bar tab on it. After we got good and toasty, I’d have to talk to him about his accessorizing technique. Look, I know the haircut is an ode to a childhood hero, but those gloves and boots have got to go. While we were on the subject, I’d tell him to nudge his BFF in the direction of a new mask.

Someone recently asked me if there were any characters that I would follow in a book without consideration to writer or artist. The only character that came to mind in the moment was Wonder Woman. Later, I remembered that I added Green Lantern: Emerald Warriors to my pull list the moment I heard the book was about Guy. It’s just icing that the book also focuses on Kilowag, and Peter Tomasi is writing it. I’m getting the book because Guy is the star. Anyhows, I am stoked. But how much more fun would Green Lantern: Emerald Warriors be if it were a Vertigo book? Just sayin’.

I leave you with a few Guy Gardner quotes to add some festivity to your Friday.

“… pug-ugly, red-faced barbarians with an ax to grind don’t grow on trees! And hell, kicking your ass every once in awhile never gets old! You complete me, Bolly!” — Guy to Bolphunga the Unrelenting

“Let’s light up this son of a bitch like a Christmas tree.”

“Your local forecast is a fist-storm with an increasing chance of hospitalization.”

“Ya gotta be kidding me — green, yellow, red, blue, violet — it’s like Walt Disney threw up — what the hell’s going on out there?”

Batman: Under the Red Hood
Rating: PG-13
Director: Brandon Vietti
Writer: Judd Winick
Starring: Bruce Greenwood, Jensen Ackles, John DiMaggio, Neil Patrick Harris, Jason Isaacs

If you’ve been a geek for any length of time, you’ve likely encountered your Scott and Jean — a comic book topic that makes you so angry that you can’t discuss it without going completely off. I’m not talking casual disdain, but full, frightening-the-children rage. As someone who was deeply affected by Batman: A Death in the Family when it was originally published, I’d long considered Jason Todd’s return from the grave to be my Scott and Jean. Especially since said return has often amounted to little more than violent douchery. (Big spoilers ahead.)

While I eventually reached a sort of Zen acceptance about Jason’s resurrection, I had no intention of watching, let alone enjoying, the animated film adaptation of Judd Winick’s Batman: Under the Red Hood. My husband ordered it On Demand, and after a long day, I simply didn’t have the will to get off the couch. The bottom line: Jason’s presence remains problematic in a bigger sense, but it works surprisingly well in a self-contained story. And despite the inherent cheapness of bringing characters back from the dead, Under the Red Hood has some truly gripping moments that evoke the raw sadness of A Death in the Family.

Nothing annoys Bruce Wayne like a fellow vigilante, particularly one who has no problem capping criminals. So when a nouveau Red Hood shows up in Gotham City and starts blowing shit up, Bruce and Dick Grayson (still Nightwing in this context) go after him. Even if you’re not familiar with the Judd Winick-penned comics the movie is based on, it doesn’t take much to figure out Mr. Hood’s identity. After all, the story is punctuated with flashbacks of Bruce and Jason’s time together as Batman and Robin, including the latter’s sickening death at the Joker’s hand. That scene alone is worthy of a PG-13 rating, so make no mistake: Under the Red Hood is not appropriate for small or sensitive children.

Speaking of the Joker, John DiMaggio’s voice work as the cackling menace to society is excellent. His delivery is alternately ha-ha funny and ha-ha-now-he’s-freaking-me-out creepy. Bruce Greenwood is a solid Batman, and you can never go wrong with Neil Patrick Harris, who gives voice to Nightwing. Jensen Ackles is fine, if not memorable, as Jason Todd. The animation is well executed, and it’s more fluid than some of the earlier DC direct-to-DVD offerings.

Under the Red Hood is sure to rekindle the conversation about Batman’s no-killing code, particularly where the Joker is concerned. As the Red Hood himself puts it, we’re not talking about Penguin or Harvey Dent (Two-Face), but a serial, gleeful murderer who beat an adolescent to death and put Barbara Gordon in a wheelchair. Seriously; go back and look at those panels of the Joker clubbing Jason with a crowbar and tell me that guy doesn’t deserve far worse than a presidential suite at Arkham. (Gee, maybe THIS is my Scott and Jean.) I get Bruce’s concern about tumbling into the abyss, but somehow, I think he’d be OK. And this being DC, it’d only be a matter of time before the Joker came back to life!

My non-geek spouse, who completely dug this movie, had the advantage of being able to view it without the continuity baggage. We both agreed that the final scene is real heart-tugger, but it also reminded me of what an awkward position Jason Todd now occupies within the DC Universe. Considering all he’s been through — including the readers’ decision to off him in the first place — I can’t help but think he deserves more than a gold Crazy Medal.

The hilarious Dana, host of the internet talk show Stimulated Boredom, was gracious enough to have me on his show this week. He is super effing nice, and I had a blast.

We talked about Comic-Con, comic book culture, cheesecake, and Girls Gone Geek. Props are given to my favorite artists, writers, and characters.  I run down my list of must read books for prospective Padawans. I also felt compelled to let the world know why E. Peterman rocks and other general shit about this fangirl’s world.

Check me out as I wax geek with Dana over at Stimulated Boredom. Please and Thank you.

I simply can not shake my curiosity! Thank you to DC Women Kicking Ass for sparking my obsessive tendencies.

The image below was in the back of EVERY DC book that I purchased yesterday. I must know WHO THIS IS!

The art screams J.H. Williams III. With the much-anticipated Batwoman book on the horizon, some have speculated that it is Alice. But Williams said in an interview that, out of respect for his Detective Comics collaborator Greg Rucka, he has no intention of using that character. I get the impression that he and Rucka are like Peanut Butter and Jelly, so I don’t think he’d go back on his word. Maybe DC made him. I doubt it.

There is an obvious suspension bridge in the background, so the setting could be San Francisco, where the lovely, raven-haired Zatanna hails from. Maybe Williams is doing a cover for the Zee book. Then again, it might be the Brooklyn Bridge. Madame Xanadu is in NYC. With the rumors of her imminent doom at Vertigo, has DC already inserted her into main continuity? The issue with both of those theories is that the art depicts a dark-eyed woman. I realize the image isn’t in color, but I’ve seen some of Williams’ other black and white pencils, and he clearly conveys light eyes. Zee and Madame X have blue and green eyes, respectively. Our darling Kate Kane is also green-eyed, and so is her twin, Alice.

The only other theory I got is that it could be Renee Montoya. That gives us the Batwoman connection. But Renee never dresses like that, not even when she’s in her jammies. She’s a beater-and-panties kind of chick.

If you’ve got any ideas, I’d love to know what they are.

Dear Brightest Day:

From the beginning, this was a marriage of convenience. You were the next big thing in event comics; I wanted to remain in the DC loop. I’d already dropped some middling books from my pull list (See ya, Green Lantern!), so I figured there was room for you in my life. Surely, we could work through my event fatigue issues together — especially with Peter Tomasi and Ivan Reis in the mix.

Just make out already.

Unfortunately, there was trouble early on, starting with that frickin’ white lantern in issue #0. I knew you came with some Blackest Night baggage, but I underestimated just how damned sick I was of that whole white light business and the various candy-colored corps. “Hal Jordan again?!” I fumed, prompting my oldest kid to ask what my problem was. And why I was talking to myself.

But then, you quickly appealed to my weakness for doomed lovers Hawkman and Hawkgirl, and Martian Manhunter. You also had that muscular, swaggering art from Reis, who draws a bicep like no one’s business. For a brief, shining moment, I truly believed we were gonna go the distance. I told V. that you were making an effort, but like someone who has heard one too many excuses for a friend’s sketchy lover, she was dubious: “If you say so, girl. I’m dropping it.”

By issue #4, I began to suspect that we just weren’t that into one another. For one thing, Firestorm made himself (themselves?) a little too comfortable, and I couldn’t hear the rest of the book over the sound of Jason and Ronnie’s incessant, tedious bickering. (For the record, Jason’s kind of a dick. I know Ronnie is inadvertently responsible for his girlfriend’s death, but still.) Mera and Aquaman’s issues, which seemed rich with promise, took a turn for the boring. Don’t even get me started on Deadman.

I’m not opposed to a little well-placed gore — I love Secret Six, after all. But when you gleefully began ripping off innocent bystanders’ heads (and limbs), it came across as desperate, and a little cheap. There was just too much going on, and it felt like a pileup of empty sturm and drang that was headed nowhere fast. It’s never a good sign on Wednesday nights when you hear yourself muttering, “I don’t have time for this.”

BD, I’m under no illusion that you need me. Heck, you can have almost any DC reader you want, you handsome, shallow devil. I just think it would be best for me to move on — y’know, see what else is out there before I start to resent the fact that you’re costing me $2.99 every other week. That’s a lot of tall Starbucks café Americanos. I’m sure you understand.

Best regards,
E. Peterman

Nimue does not take kindly to impending doom.

As with so many other things that are artistically awesome, they come to an end long before they should. Over at Bleeding Cool, rumor has it that Madame Xanadu will soon meet her demise at Vertigo (winks at Shag for shooting me the link). Whether because of corporate rearranging of characters, low sales, or the creators having other projects they deem priority, this falls under the category of tragic.

I only recently discovered Madame Xanadu. The first trade, “Disenchanted,” was exceptional. When I finished reading it, I immediately re-read it. Amy Reeder’s art is out of this world. She draws Madame Xanadu so beautifully, with ethereal hints of Manga that make her work bright and unique. Matt Wagner’s story is nothing short of brilliant. He depicts a character who is so powerful and ageless, yet internally flawed by deep emotional wounds a thousand years old. Wagner ingeniously weaves in characters like Merlin, The Phantom Stranger, and Morgan Le Fey, which entices the continuity hound in me. The second trade was also very good, albeit quite different. An alternate artist, Michael William Kaluta, added a rugged vibe to the arc. It worked for the time-period of the story. Think Spanish Inquisition and Jack the Ripper. The writing continued to be fanfuckingtastic as we see a more mature Xanadu, settling into who she’s decided to be. So good in fact, I started buying the issues. The most recent arc, beginning at #26 (check my review over at Newsarama), is very promising.

I could sycophantically profess 100 other things I love about this book, but I’ll stop here, as it’s not going to change anything. I’ve learned to accept that when I really, really love a book, it will inevitably get canned. I’m not so completely narcissistic to believe that I’m one of the few who recognize true excellence. But how does a book like Brightest Day (aka the UBER-MEH) continue on while Xanadu must cease? Sales, I’m sure. To that, I say: Advertise the damn book! I’m so over this “It’s not selling” cop-out. If Xanadu got nearly as much ad space as Brightest Day, I bet it would sell. Pardon me, Mr. Wagner, if I’m being presumptuous and assuming it wasn’t your decision. You are a gifted writer; perhaps you decided to move on. I know Ms. Reeder is taking on Batwoman (aka the MEGA-WIN), and covers for Supergirl, which I’m sure will be splendid. But why do the books I love have to go?

Birds of Prey is back, and that’s great. DC previously discontinued that book and let the characters get turned into feminine frailty. Gail Simone is very quickly rectifying that, but it took four years for DC to figure out what a gem they had with Simone and BoP. Amid the hoopla surrounding Wonder Woman, DC claimed her books weren’t selling either, thus justifying the redesign/reboot. Again, perhaps the books would sell if she got even half the ad space as Batman. Issue #600 sold like hotcakes because it was advertised out the wazoo, combined with the gimmick of changing her appearance. Surely, there aren’t that many JMS fans. Sorry.

Vertigo books consistently have solid writing and good art. I’d say that about a third of the books at DC prime are working with that combo. I acknowledge the factor of sheer numbers. Fine. But this cash cow momentum is a ruthless executioner. If the rumor is true, Madame Xanadu is being unjustifiably sent to the guillotine.

Love and Capes: Do You Want to Know a Secret? Vol. 1
Writer/Artist: Thomas F. Zahler

Superheroes aren’t having much fun these days. While there’s some great work being done in the capes-and-cowls genre, it’s often so relentlessly grim that fans seeking lighthearted reading might as well head straight to the kids’ section of the comics shop (and I often do).

You should be reading this.

Thank goodness for Thomas F. Zahler’s Love and Capes, a funny, smartly written — and, yes, lighthearted — series about the intersection of heroics and romance. Bookstore owner Abby learns that her mild-mannered accountant boyfriend, Mark, is also a superhero known to Deco City as The Crusader. After he reveals his true identity, Abby experiences the perks (15-minute flights to Maui) and perils (picnics interrupted by crises) of dating a member of the cape community.

It’s appropriate that Love and Capes is billed as a “heroically super situation comedy,” because the quick banter and likable cast give it the feel of an especially good TV show. Zahler makes good use of the familiar: The Crusader is clearly a Superman analog, and his best friend, Paul, aka Darkblade, stands in for a certain serious billionaire who fights crime at night. Most of the derring-do takes place off of the page, so even when we see these two at work, they’re rarely talking shop. In one of the book’s many funny panels, Darkblade — while dangling a bad guy over a rooftop — tells Mark that his ill-timed request for relationship advice is “seriously killing my creature-of-the night vibe.”

Amazonia: Trouble in high heels.

Like all newly smitten, cute couples, Mark and Abby are just this side of annoying. (In this first volume, Mark’s only noticeable flaw is that he’s a tad jealous of Arachnerd, a web-slinger who is at the center of a blockbuster film franchise.) Zahler spices things up considerably by introducing Amazonia, an Angelina Jolie/Wonder Woman hybrid who happens to be The Crusader’s ex-girlfriend. How intimidating is she? In one of the book’s many funny panels, Abby’s sister, Charlotte puts it this way: “Amazonia? Whoa. I’d do her.”

Speaking of Charlotte, her tart asides and single-gal perspective bring a lot of wit to Love & Capes. She’s an utterly charming second banana — a Rhoda Morgenstern to Abby’s Mary Tyler Moore (Cue readers born after 1980 saying, “Who?” in unison).

This book has such genuine, across-the-board appeal, and I was bummed to hear two LCS owners — both fans of the series — say they couldn’t interest enough readers to justify stocking the single issues. People, where is the love? The next time I hear a fellow comic lover complaining about the Big Two offerings on his or her pull list, I’m going to ask (in a slightly judgmental tone) why that person isn’t reading Love and Capes, among other things.

Do yourself a favor and check out the first two trade volumes, or head over to the Love and Capes website for a taste of the series. It’s mighty good.

Superman #701
Writer: J. Michael Straczynski
Artists: Eddy Barrows, Rod Reis (colors) and J.P. Mayer (ink)
Cover: John Cassaday and David Baron
Letters: John J. Hill

There’s nothing new about the similarities between Superman and a certain carpenter from Nazareth, but in some stories, the parallels are neon-sign obvious. Shortly after watching Superman Returns — in which Kal-El even rises from his hospital deathbed after a few days (three?) — my brother asked, “Are we sure this isn’t a movie about Jesus?”

Writer J. Michael Straczynski is an atheist, but he has spoken of Superman in biblical (or, depending on your point of view, mythological) terms. In JMS’ highly anticipated Superman debut, the Man of Steel comes across the way I’ve often imagined Jesus might: captivating, earnest, the tiniest bit smug. He doesn’t carry much in the way of cash or material possessions, and he walks a lot. Wherever he goes, people pepper him with questions, try his patience and practically dare him to use his powers. Sound familiar?

Literally down to Earth, Superman is on a sort of fact-finding stroll through America, telling one journalist, “I’m not flying because I’m walking.” (As a former newspaper reporter, I thought the pack of hero-chasing journalists seemed gratuitously dim, especially considering Clark Kent’s line of work. But maybe they were TMZ types.)

The best moments in this issue are the smallest, like when Superman checks the funds in his cape pocket before ordering a cheese steak sandwich, or when star-struck residents react as if a caped Zac Efron were in their presence. It’s not every day that you see a metahuman celebrity in Philly, and I was charmed by Eddy Barrows’ scenes of grinning, gobsmacked citizens.

Unfortunately, the effort to make Superman “relevant” is all too obvious at times, and the book begins to strain under the weight of its own message. There’s a deeply goofy segment involving some drug dealers who appear to have stepped right out of New Jack City, and Supes has one too many Preachy McPreachypants moments. By the end, I found myself wishing Original Batman were around to bust the guy’s chops. However, despite these stumbles and my lack of any deep investment in Superman (the character or the comic), JMS has laid out an interesting premise — one that makes me want to stick around for at least one more stop on Kal-El’s tour.

There are plenty of reasons to be evangelical about Brian K. Vaughan’s Y: The Last Man — a haunting storyline in which almost every male on Earth drops dead, pages of nail-biting drama, sharp humor … and a monkey. It’s like a groundbreaking HBO show in print, with great illustrations (Pia Guerra). But of all the reasons I love this story, it’s the character of secret Agent 355 who tops the list. (Spoilers are ahead.)

Comics have come a long way in the diversity department, but even now, Agent 355 represents something uncommon in the genre: a smart, formidable black female character who is much more than a sidekick, and whose ethnicity informs who she is without defining her. Plus, she can knock you the %$@* out without breaking a sweat. If the world is coming to an end, this is a woman you want on your side.

A member of the Culper Ring, a covert operations group, Agent 355 winds up as the guardian of slacker Yorick Brown — presumably the world’s only living man. She’s a bit of a mystery throughout, and we never even learn her real name. But as time passes, we see a complex and even vulnerable young woman — at least, when she doesn’t have to kill folks, something she takes no joy in doing. Early on, Yorick is surprised to see Agent 355 doing mundane things like … knitting. When her backstory finally emerges, it packs one hell of a punch.

It’s no small thing that Vaughan avoids the traps of ignoring race completely or beating readers over the head with it. It’s certainly present in the dynamic among Yorick, Agent 355 and geneticist Dr. Allison Mann, an Asian woman who changed her last name (as in Mann’s Chinese Theatre) to piss off her scientist parents. For example, when Yorick asks 355 why she insists on maneuvering at night while they’re in Boston, she points out that (duh) they happen to be in the Southie neighborhood, and she’s not white.

Yorick: “You seriously think that’s still an issue?”

Agent 355: “Why, because this is the twenty-first century … or because all of the men are dead? Either way, my answer is yes.“

A whole lot of crazy stuff goes down in Y: The Last Man, but its heart and soul is the bond between Agent 355 and Yorick. As we’ve stated previously, this book contains one of the most romantic (and ultimately heart-wrenching) moments in comics, ever. And thanks to Vaughn and Guerra’s excellent teamwork, Yorick isn’t the only one who fell hard for this beautiful, badass and thoroughly awesome secret agent.

V. and I feel like proud parents with the posting of today’s guest essay from our fellow fangirl, Jenn. She’s the brains behind Dirty Blonde & Nerdy, where she writes about her adventures in geek. Jenn was also one of our earliest readers, and it warmed our jaded little hearts to learn that Girls Gone Geek had helped guide her as a newbie in the often overwhelming world of comic-book reading. Seriously; we had a moment. (Me to V: “Dude, she’s like our Padawan!”) Anyway, we enjoyed the heck out of her essay on DC’s throwback strategy, and we think you will, too. Take it away, Jenn!

WHYYYYYY!!???? Oh. Right. Darkseid.

There have been quite a few shake-ups in the DC comicverse in recent years. It’s been a pretty intimidating time for anyone to follow, especially for someone just diving into the fun. We had the Crisis siblings: Identity, Infinite, and Final; Bruce Wayne is now sleuthing up to his inevitable return after his supposed death, the Justice League has a new Big Three, if one at all, with a table full of new faces, and the big to-do with Blackest Night led directly to Brightest Day. And, of course, there is the new Wonder Woman run/temporary costume. DC has had its hands buried deep in the cradle of its characters and titles, and the editorial powers have been stirring things around for a while.

Let me make it clear that I have absolutely no problem with that. At all. I love nothing more than when someone takes the plunge and dares to do something different, outside the box, and makes people mad or excited about the idea. It garners plenty of attention, a necessity in any entertainment business. But an “A” for effort doesn’t really count. Success doesn’t ride on the back of good intentions and certainly not on the shoulders of half-assed executions.

Before anyone gets fired up about their own concern (or thinks I’m here to spit fire on everything) let me narrow the playing field to one development in particular that has me wondering what exactly is going through the heads of the officials: DC’s regression to older heroes, the step backwards from the supposed legacy appeal. I don’t get it. A legacy doesn’t work backwards; it’s a namesake passed down to the one who earned the title. For example: Wally West became The Flash after Barry Allen. Bart Allen became Kid Flash after he grew up a bit and left the name Impulse behind. The names became mantels. Now they don’t mean anything because they’ve been revoked, rearranged, removed, whatever.

This problem doesn’t touch just The Flash’s so-called legacy, and it doesn’t stop merely with old guys coming back and retaking their titles. For some, the bigger issue is that a bunch of old white guys are coming back to retake their titles.

Ryan Choi, we hardly knew ye.

The Atom. Ok, Ray Palmer is back, so they discard the replacement Ryan Choi by killing him off, which apparently is the quick and easy way to write off a character (which is also very lame). But, oh crap, that means they killed the guy with a different ethnicity to make room for a white guy.

Boom. Now you’ve got racial issues.

I think that’s ridiculous. If DC wants to revert back to the older heroes, then yeah, it’s gonna look like a whitewash because those characters were created in a long-ago age. Was it an intentional slam against the racially diverse characters added over the past few years? I don’t think so. I hope not. Maybe I’m being far too optimistic in my pessimism, but that result only sprang from the decision they made.

Adding to the confusion, we have Dick Grayson under the cowl when we know Bruce is due back in a few months. I know, I know. Someone needs to be Batman while Bruce was gone. Gotham still needs Batman. Bruce couldn’t ever really be dead because no one else is really Batman. Here the legacy doesn’t work. It can’t work, and it never will work no matter how many times someone else temporarily has their face behind that mask. Those boots — among others like Wonder Woman and Superman — are just too big to be properly filled permanently.

I suppose “half-assed executions” is a little harsh, but this is a nice hole that the folks at DC wrote themselves into. How can one character have a legacy when others who have interacted with that character never age? Retcon the Failsafe? (I think that could be a comic itself.) Change who worked with whom back in the good ol’ days to make sure the aging problem doesn’t interfere? That’s great. They’re probably going to do it sooner or later anyway.

You just can’t please everyone. This fact has proven itself tenfold since I’ve been in the DC fandom. Not everyone is going to approach a new direction with grace and a sensible sense of judgment rather than instantaneous maniacal fan-frothing. But it’s kind of strange that the new faces of DC Universe are taking us backwards instead of moving forwards.

Some of the best characters are villains, and one of my favorite villains is Alice. That is, Kate Kane’s thought-to-be-dead twin sister Elizabeth, who was actually kidnapped in childhood and tortured by terrorists, eventually becoming the Religion of Crime’s High Madame.

Her alternate personality is a beautifully twisted version of Alice Pleasance Liddell of Wonderland fame. Fans of Greg Rucka’s Detective Comics/Batwoman run were all set for an entire Alice story arc. I know I was. Alas, her tragic origin story was cut short by Rucka’s abrupt departure from DC. We were robbed, damn it. ROBBED! What we did get of her left me jonesin’ for more. The last time we saw Alice was at the end of the “Elegy” story, when she fell into the ocean after a fistfight on a plane with her sis. Her body was never found. Rucka stated he had her origin story planned and was ready to write. I hope that one day he will grace us (and DC) with said story. In the mean time, I hope all other writers keep their hands off of this amazing character.

JH Williams‘s phenomenal rendering of Alice was interesting and unique. You could tell by looking at her that she was clearly insane, yet the design and colors were were still so pretty. His concept of Alice made for some of the best cover art I’ve ever seen. While the character was only half featured on some of the covers of Detective Comics, the art was clearly designed to foreshadow her presence in the story and her connection to Kate. Fans will have to wait and see if we’ll ever get another look at Alice. In the meantime, I may have to keep the dream alive with the coolest cosplay costume EVER.

Alas, the movement to cast Donald Glover as the next big-screen Spider-Man fell short, though not for lack of trying. V. and I were among the many “Community” fans who thought it would have been a stroke of genius to have Glover play everynerd/superhero Peter Parker in the forthcoming reboot. However, British actor Andrew Garfield has nabbed the role. OK, fine. He’s certainly got the traditional Peter Parker-y look, and though I have yet to see Garfield in anything, legitimate sources say that he is funny (something a young Spider-Man should be) and talented. That’s a good sign.

I hope the Glover campaign wasn’t completely for naught, though. Maybe the studio will at least offer him a juicy supporting role, or perhaps he’ll now be a serious contender to play another movie hero. The main argument against his casting was that a black Spider-Man might confuse people, but I don’t see how. Young, brilliant man bitten by radioactive spider. Develops super powers. Puts on tights. Fights crime. Where’s the confusion?

What’s your take on Garfield’s casting? Who should play Mary Jane? Aunt Mae? (Helen Mirren in the house!) Do you even care about this franchise?

For E. Peterman and me, Girls Gone Geek is a labor of love. We love comics. We love writing. We love writing about comics. It’s how we roll. So when Newsarama(!) invited us to join the Best Shots Review team, we may have shattered a few windows with our squeals of joy. If your dog experienced hearing loss last Monday, well, our bad. We are thrilled beyond words, which is saying a lot. We don’t excite easily.

Girls Gone Geek will remain very much alive and well, and now you’ll be able to find our fangirl commentary in more than one place. E. and I jumped in headfirst, and our first articles will be posted for your viewing pleasure TODAY! To read our inaugural reviews of Wonder Woman #600, Green Lantern #55, Madame Xanadu #24, JSA #40 and much more, go here. You can also find us, and the rest of the Newsarama Best Shots team here.

Images are ™ and © DC Comics, unless otherwise noted here.

Cover art by Dustin Nguyen

Batman Beyond #1
Writer: Adam Beechen
Pencils: Ryan Benjamin
Inks: John Stanisci
Colors: David Baron
June 30, 2010
DC Comics

I was stoked when DC announced the six-part mini for Batman Beyond. The cartoon is second only to Avatar: The Last Airbender in my book. I watched the animated series religiously, and I even had a giant Batman Beyond poster hanging over my bed.

The concept of a young man taking over the cowl under the tutelage of Bruce “Silver Fox” Wayne is genius, and it’s executed quite well in this first issue. Bruce is, of course, so obsessive that no amount of old age will keep him from protecting Gotham. He’d have to cease to exist (notice I didn’t say “die”), and even then, he’d probably still have some contingency AI Batman to run shit. For now, we’ve got Terry McGinnis.

Terry is a likable kid who has a great sense of humor. When he takes off that mask, he’s got a little Tim Drake action going on (winks at E.) His character is true to form with quippy comebacks and a young man’s attitude laced with tinge of snark reserved for Bruce. BW seems to be keeping the task bar skyscraper-high, but he doesn’t quite trust Terry … completely.

Bruce: “I don’t like relying on anyone.”
Terry: “Yeah? Including me?”
Bruce: “You’ve done well enough. So far.”
Terry: “Alert the vid-crews and data-streamers! Bruce Wayne just gave me a mili-kudo!”

Mili-kudo. Teehee.

Given BW’s control-freak tendencies (and staying true to the ’toon), he’s got a com-link to Terry … Oracle style. The banter that ensues between them highlights the well-paced action of this issue perfectly. Longtime DC readers get a few nuggets of villains past, and an aged Amanda Waller. Yup, The Wall. Epic win, folks.

Mega-kudos for Ryan Benjamin’s art. It is simple and clean as an ode to the cartoon, but the artist’s lines display depth and emotion. The actions scenes work well and are made to pop with the futuristic background detail. I don’t think colorist David Baron used more than three or four shades in any given panel, but it complemented the pencils and the overall tone of the book.

It’s a story balanced with progression of plot, and there’s just enough exposition of continuity that anyone could pick it up and enjoy. Since DC is so desperate to attract new readers, they should be marketing the hell out of this book. Batman Beyond could be just the reader bait the company needs.

Juicy story. Good art. Buy it.

Messing with a classic is ballsy, but doing so successfully requires finesse. Do it right, and you get something like the “Star Trek” movie reboot. Misstep, and you’ve got New Coke. It is not for the faint of heart —or the clumsy.

This brings us to Wonder Woman’s new costume, which you can see today in its full glory with the debut of issue #600. As this is being written, V. and I have yet to read new Wondy writer J. Michael Stracynzski’s first issue, so we can’t comment on the story. The outfit, redesigned by none other than Jim Lee, is another story.

Here’s what we like: The old-school top is fine, and the gloves are hot in an I-will-beat-you-down-in-an-alley kind of way.

What don’t we like? Let’s start with the boots, which pissed us off mightily. If you’re going to put Diana in black leggings, why not let her keep some version of her iconic, red kicks? As V. put it, it’s all about the fucking boots, and the mall footwear with golden frippery isn’t going to cut it. And we like biker chick chic as much as anyone, but the star-spangled blue jacket looks like a Black Canary ripoff. And a choker? No. Seriously, no.

Wonder Woman’s new clothes aren’t terrible or offensive; but they are disappointingly generic and dated. As one person wrote on the DCU blog: “Looks like she’s just changed for happy hour after work. In 1996.”

JMS outlines the ideas behind the costume redesign in an extensive interview with Comic Book Resources, but I’m not sure I buy them. For starters, why does a superhero costume have to be practical? In all my years of reading “Wonder Woman” comics — the good and the bad — I’ve never wondered how she fights “without all her parts popping out” or where she keeps her keys. It’s a suspension of disbelief thing. Couldn’t she just keep some recognizable version of her costume underneath contemporary street clothes, like Spider-Man?

It’s not that we’re anti-change, but we think an amazing heroine ought to have an amazing costume. Reboot or no, Wonder Woman is a classic who should be distinguishable from, say, Donna Troy. Paging Christian Siriano!